The depth cue of line convergence is used to navigate the user. Line convergence is used to create a 3D space which limits the user in wayfinding because the point where the lines converge are highlighted to be important and where the player should navigate towards. Virtual environments are designed in a hierarchial structure where the user is navigating following visual hierarchies. In this screenshot, the user is following the clearest identifiable path. The path depicts the hierarchial structure due to line convergence, texture and shading of the environment.
This screenshot uses the gestalt principle of closure in order to limit a player's navigation strategy. Due to the fact that individuals use their real life experiences to navigate in the virtual world the design principle here limits the player's wayfinding abilities. The red line shows where closure is apparent and this element of design creates the impresssion that the player must got through the arch in order to continue on with successfully playing the game.
In this screenshot the technique to shadowing/shading is utilized. This technqiue contributes to imposing bias because the player is clearly shown which way to navigate. The red circle illustrates that there is a path which the player can take. Additionally, the fact that the side of the buildings have a shadow clearly points out that the dark place is somewhere the player should avoid. We are applying our sensory representations of the real world to the virtual world limiting our freedom of choice. In this instance, the virtual world is clearly highlighting the path that the player should take.
This screenshot taken from WOW clearly shows the path the player should take. In an environment where there is a clear path such as the one above, the user is limited to take that path. This type of path usually leads to a reference points that the user can recognize through the cognitive map they developed playing the game. In the virtual world, it is impossible to create path through use alone. This limits the user because the path to be followed must be the one given to the user by the environment it is in. This lack of ability to create your own paths for reference limits the users ability to freely navigate in the virtual world.
Figure 6
In this screenshot, we see rocks and trees, similar to ones real world. In WoW, there are differences between how objects are used and acted upon. Specifically, affordances indicating how we can interact with objects in WoW, differs from interactions in the real world. In figure 6, the trees resemble trees in the real world, hard to climb but possible. However, in WoW, these trees are merely impossible to climb, as the player moves forward towards the tree, they move sideways and are forced to move around the tree. In another case, if there are stairs or a bridge leading in the direction of a quest, the player automatically goes up the stairs or across the bridge. This is because the game forces the user to act a certain way or move a certain direction.
Gestalts Principles
Laws of proximity and closure subtly propose certain concepts and ideas that lead the user to perceive objects placed close together as related or in sync and well contoured images as closed figures. eg - the trees and rocks are placed together in close proximity so that together they create a path that needs to be followed by the player.
Figure 5
Line Convergence, Object Size and Texture Gradient Figure 4
WOW uses landmarks as reference points so that the user, especially beginners, can easily navigate themselves around. The point of this visual hierarchy is that in the real world name tags for places do not exist to inform us of where we are. In the real world, we rely on cognitive maps, instincts and memory to identify our environment. However, in WoW, the main hall is clearly identified to inform the character of where they are situated. The name represents a guide and serves to lessen the freedom the character has by placing boundaries. By recognizing the main hall, the character uses the information to act in the game based on the specific associations/ rules that define and are tied to the place.
Figure 3
Figure three shows the hall of arms in Northshire Abey. The cognitive map of the hall, circular and round in design shows the constraints and boundaries in which the character cannot cross. The character moves around the hall and finishes at the starting point. Not only does the design direct the players’ movement in this hall, but the mapping of the upper level floor in the Hall of Arms shows to be the wrong place for the character to complete the quest. The player is forced to travel down the stairs and look elsewhere to travel inside the Hall.
Figure 2
The text above the character in this screenshot establishes a visual hierarchy. In World of Warcarft, the character names are placed strictly above a character to represent an order of significance being a name/label attached and giving identity to a figure. In addition to names identifying characters, they can be used as place markers, images to associate a landmark, setting in the game and also serve to guide the character to a specific place setting. Also, the bright neon color highlighting of the name signifies that the non-player character is friendly to the player, but attackable by enemy players. According to a discussion board outlining WoW game concepts, if other player’s highlight circle and name is green then the player is friendly to you, but hostile to the opposite fanction, “a group of racial, but sometimes ideological, allies” (WoWwiki, 2009). It also indicates that their PVP flag is on and the character can engage in PVP combat, Player VS. Player combat. There are many types of PVP combat (e.g. Dueling, random PVP) that have detailed instructions outlining the nature of the combat. The nature of the PVP flag on the non-player character in this screenshots poses many restrictions on the main player actions and behaviors. It is evident that the character’s interactions with other non-player characters and as well as Deputy Willem’s actions are also controlled in the game.
The Hall of Arms in Northshire Valley resembles the Manchester Cathedral.
Ware (sensory representations):
The online world (ie. game) is filled with sensory representations that Ware believes create visualizations in the mind of the user that are “understood” and require no learning. These visualizations are processed so rapidly in the user’s cognition that without realizing it they make decisions that are influenced by these sensory representations, which would not be the case in the real world.
eg - the stairs leading upto the doorway (in the image below) insinuates a path that the user should take, because the stairs and doorway symbolize an entrance within a users cognition.
Figure 1
WoW uses the miniature map to the top right of the GUI to show that the character must find a quest. These quests are the basis for playing the game, as there is a wide range of complexity requiring one or multiple players to play. According to World of Warcraft, the player must talk to a non player character to find their quest and “the exclamation point indicates that that particular NPC has a quest available.” (WoW, 2009). Immediately after a player sees the quest on the map (Fig1), they find the NPC with an exclamation mark above their head. (Fig2). World of Warcraft clearly defines where the quest is located, how to retrieve the quest, where to find information about the quest and they even provides details about the difficulty of the quest at hand. “A yellow "?" above an NPC's head means he or she is expecting you to return to them with completed items for a quest, or news about a quest's completion…Quests are listed by color to indicate how the quest stacks up vs. your current level. Easier quests will mean you get less experience.” (WoW, 2009) The only way for a player to excel in this game to a higher level, receive trade skills and earn equipment is to complete quests. According to WoW Quest Basics, a character must spend the majority of time finding and completing quests if they wish become more powerful, “be sure to grab every quest you can find, and feel free to jump on to your next quest as soon as you've finished one.” (WoW, 2009). After outlining the detailed instructions to restrict and control characters behavior in the game the game guide ironically states, “you can play however you want, but remember, it's all about having fun!” (WoW, 2009)
In the Game of WoW, unlike in real life, the player's opposing side is defined for them regardless of their opinion and acceptance. The red framing around the “horde” lets the player know right away that coming into contact with one of the hordes could be dangerous and could affect the player’s outcome in the game. The framing therefore helps the player to differentiate between the good and the bad. The above screenshot also shows that unlike in the real world, where humans have the the choice to learn new skills, change jobs, and of course their clothing, in the world of warcraft these choices are strictly limited. Depending on the role the player chooses for their character, a specific set of skills are assigned to that character, as well as a specific outfit to symbolize the character’s role and make their task/job unquestionable. The approximate age of the character is also defined by how young that character’s race is. This means that World of Warcraft actually does not want the player of the game to wander off and explore the possibilities, but rather understand that they have a specific role to play and a task to accomplish once they select a specific character.
As highlighted on screenshot above, the game of WoW imposes several limitations in regards to the actions a player can make, or the things they can say. Actions are not outlined for us in real life in such a controlled way, and we have the flexibility of doing and saying things that are clearly not possible in WoW. Also, there are limitations when a character dies, because WoW rather wants the player to continue on their task. That is why there is a small number of things a character can do when they are dead. This limitation can be seen through the disabled power/defence options, the Spirit Healer the only other character in the view, and the map, where there are only 2 marked places - the location of the Spirit Healer and the graveyard with the character's "corpse", the only other place where the character can become alive again. Likewise, the Spirit Healer is emphasized by a visualization technique of luminescent lighting. This and the contrasting colors are used to convey the associations of death and rebirth. The Spirit Healer therefore acts as an affordance to bring a character back to life, so they can continue to play the game. This use of color and hierarchy in relation to the Healers luminescent coloring and size helps the player immidiately percieve that she is of importance and is perhaps a savior.
The "right" path in this screenshot is clearly identified by the luminescent lights. It is therefore highlighted and is the first path the player chooses to take between the two. Also, because of the elevation, made obvious by the smooth texture gradient and lighting that fall on the path, the player finds the path to be different than from that leading into the distance, and that sparks their curiosity to take the bridge-like path versus taking the one disappearing into the distance. In real life, this is normally the opposite because taking an abnormal path is essentially associated with fear. In WoW, this may be associated with a possible reward. Not only does the elevated bridge-like path forces the player to take it, but on the map above the avatar, the exclamation mark is placed in about the same direction as the path, which leads the player to believe that they really have to take the path up in order to possibly find more information about their quest. Thus, through such visualization designs as lighting and gradient, the path is already pre-set up for the player without even them realizing it.
Laws of continuity and similarity (Gestalt) sway the individual to unconsciously follow a certain path or direction, as the user assumes that elements which appear to look similar are a part of the same structure.eg - the trees and bushes that are placed in clusters direct the player towards a predetermined path.
This screenshot shows the effective technique of framing through the trees, as they seem to be placed around the path in a manner that allows the player to see the shape of the path. This framing also emphasizes the fact that there is a path, even if it seems to be turning around the corner and disappearing from visibility. The map above the avatar also helps the player see that the path does go on. This kind of framing seems to be more natural within the persistent online world, because it seems that the path is placed in respect to the trees, whereas in real life, paths are created by humans regardless of natural life. Thus, although the trees create a sense of the real world, they are there to frame the players view by making sure that they continue to follow the path and don't side track. The player cooperates because they understand that straying away from the path leads to a possibility of sidetracking from the quest by getting lost and tacking extra time to find the path once again.
The depth cue of line convergence is used to navigate the user. Line convergence is used to create a 3D space which limits the user in wayfinding because the point where the lines converge are highlighted to be important and where the player should navigate towards. Virtual environments are designed in a hierarchial structure where the user is navigating following visual hierarchies. In this screenshot, the user is following the clearest identifiable path. The path depicts the hierarchial structure due to line convergence, texture and shading of the environment.
This screenshot uses the gestalt principle of closure in order to limit a player's navigation strategy. Due to the fact that individuals use their real life experiences to navigate in the virtual world the design principle here limits the player's wayfinding abilities. The red line shows where closure is apparent and this element of design creates the impresssion that the player must got through the arch in order to continue on with successfully playing the game.
In this screenshot the technique to shadowing/shading is utilized. This technqiue contributes to imposing bias because the player is clearly shown which way to navigate. The red circle illustrates that there is a path which the player can take. Additionally, the fact that the side of the buildings have a shadow clearly points out that the dark place is somewhere the player should avoid. We are applying our sensory representations of the real world to the virtual world limiting our freedom of choice. In this instance, the virtual world is clearly highlighting the path that the player should take.
This screenshot taken from WOW clearly shows the path the player should take. In an environment where there is a clear path such as the one above, the user is limited to take that path. This type of path usually leads to a reference points that the user can recognize through the cognitive map they developed playing the game. In the virtual world, it is impossible to create path through use alone. This limits the user because the path to be followed must be the one given to the user by the environment it is in. This lack of ability to create your own paths for reference limits the users ability to freely navigate in the virtual world.
Figure 6
In this screenshot, we see rocks and trees, similar to ones real world. In WoW, there are differences between how objects are used and acted upon. Specifically, affordances indicating how we can interact with objects in WoW, differs from interactions in the real world. In figure 6, the trees resemble trees in the real world, hard to climb but possible. However, in WoW, these trees are merely impossible to climb, as the player moves forward towards the tree, they move sideways and are forced to move around the tree. In another case, if there are stairs or a bridge leading in the direction of a quest, the player automatically goes up the stairs or across the bridge. This is because the game forces the user to act a certain way or move a certain direction.
Gestalts Principles
Laws of proximity and closure subtly propose certain concepts and ideas that lead the user to perceive objects placed close together as related or in sync and well contoured images as closed figures. eg - the trees and rocks are placed together in close proximity so that together they create a path that needs to be followed by the player.
Figure 5
Line Convergence, Object Size and Texture Gradient
Figure 4
WOW uses landmarks as reference points so that the user, especially beginners, can easily navigate themselves around. The point of this visual hierarchy is that in the real world name tags for places do not exist to inform us of where we are. In the real world, we rely on cognitive maps, instincts and memory to identify our environment. However, in WoW, the main hall is clearly identified to inform the character of where they are situated. The name represents a guide and serves to lessen the freedom the character has by placing boundaries. By recognizing the main hall, the character uses the information to act in the game based on the specific associations/ rules that define and are tied to the place.
Figure 3
Figure three shows the hall of arms in Northshire Abey. The cognitive map of the hall, circular and round in design shows the constraints and boundaries in which the character cannot cross. The character moves around the hall and finishes at the starting point. Not only does the design direct the players’ movement in this hall, but the mapping of the upper level floor in the Hall of Arms shows to be the wrong place for the character to complete the quest. The player is forced to travel down the stairs and look elsewhere to travel inside the Hall.
Figure 2
The text above the character in this screenshot establishes a visual hierarchy. In World of Warcarft, the character names are placed strictly above a character to represent an order of significance being a name/label attached and giving identity to a figure. In addition to names identifying characters, they can be used as place markers, images to associate a landmark, setting in the game and also serve to guide the character to a specific place setting. Also, the bright neon color highlighting of the name signifies that the non-player character is friendly to the player, but attackable by enemy players. According to a discussion board outlining WoW game concepts, if other player’s highlight circle and name is green then the player is friendly to you, but hostile to the opposite fanction, “a group of racial, but sometimes ideological, allies” (WoWwiki, 2009). It also indicates that their PVP flag is on and the character can engage in PVP combat, Player VS. Player combat. There are many types of PVP combat (e.g. Dueling, random PVP) that have detailed instructions outlining the nature of the combat. The nature of the PVP flag on the non-player character in this screenshots poses many restrictions on the main player actions and behaviors. It is evident that the character’s interactions with other non-player characters and as well as Deputy Willem’s actions are also controlled in the game.
The Hall of Arms in Northshire Valley resembles the Manchester Cathedral.
Ware (sensory representations):
The online world (ie. game) is filled with sensory representations that Ware believes create visualizations in the mind of the user that are “understood” and require no learning. These visualizations are processed so rapidly in the user’s cognition that without realizing it they make decisions that are influenced by these sensory representations, which would not be the case in the real world.
eg - the stairs leading upto the doorway (in the image below) insinuates a path that the user should take, because the stairs and doorway symbolize an entrance within a users cognition.
Figure 1
WoW uses the miniature map to the top right of the GUI to show that the character must find a quest. These quests are the basis for playing the game, as there is a wide range of complexity requiring one or multiple players to play. According to World of Warcraft, the player must talk to a non player character to find their quest and “the exclamation point indicates that that particular NPC has a quest available.” (WoW, 2009). Immediately after a player sees the quest on the map (Fig1), they find the NPC with an exclamation mark above their head. (Fig2). World of Warcraft clearly defines where the quest is located, how to retrieve the quest, where to find information about the quest and they even provides details about the difficulty of the quest at hand. “A yellow "?" above an NPC's head means he or she is expecting you to return to them with completed items for a quest, or news about a quest's completion…Quests are listed by color to indicate how the quest stacks up vs. your current level. Easier quests will mean you get less experience.” (WoW, 2009) The only way for a player to excel in this game to a higher level, receive trade skills and earn equipment is to complete quests. According to WoW Quest Basics, a character must spend the majority of time finding and completing quests if they wish become more powerful, “be sure to grab every quest you can find, and feel free to jump on to your next quest as soon as you've finished one.” (WoW, 2009). After outlining the detailed instructions to restrict and control characters behavior in the game the game guide ironically states, “you can play however you want, but remember, it's all about having fun!” (WoW, 2009)
In the Game of WoW, unlike in real life, the player's opposing side is defined for them regardless of their opinion and acceptance. The red framing around the “horde” lets the player know right away that coming into contact with one of the hordes could be dangerous and could affect the player’s outcome in the game. The framing therefore helps the player to differentiate between the good and the bad. The above screenshot also shows that unlike in the real world, where humans have the the choice to learn new skills, change jobs, and of course their clothing, in the world of warcraft these choices are strictly limited. Depending on the role the player chooses for their character, a specific set of skills are assigned to that character, as well as a specific outfit to symbolize the character’s role and make their task/job unquestionable. The approximate age of the character is also defined by how young that character’s race is. This means that World of Warcraft actually does not want the player of the game to wander off and explore the possibilities, but rather understand that they have a specific role to play and a task to accomplish once they select a specific character.
As highlighted on screenshot above, the game of WoW imposes several limitations in regards to the actions a player can make, or the things they can say. Actions are not outlined for us in real life in such a controlled way, and we have the flexibility of doing and saying things that are clearly not possible in WoW. Also, there are limitations when a character dies, because WoW rather wants the player to continue on their task. That is why there is a small number of things a character can do when they are dead. This limitation can be seen through the disabled power/defence options, the Spirit Healer the only other character in the view, and the map, where there are only 2 marked places - the location of the Spirit Healer and the graveyard with the character's "corpse", the only other place where the character can become alive again. Likewise, the Spirit Healer is emphasized by a visualization technique of luminescent lighting. This and the contrasting colors are used to convey the associations of death and rebirth. The Spirit Healer therefore acts as an affordance to bring a character back to life, so they can continue to play the game. This use of color and hierarchy in relation to the Healers luminescent coloring and size helps the player immidiately percieve that she is of importance and is perhaps a savior.
The "right" path in this screenshot is clearly identified by the luminescent lights. It is therefore highlighted and is the first path the player chooses to take between the two. Also, because of the elevation, made obvious by the smooth texture gradient and lighting that fall on the path, the player finds the path to be different than from that leading into the distance, and that sparks their curiosity to take the bridge-like path versus taking the one disappearing into the distance. In real life, this is normally the opposite because taking an abnormal path is essentially associated with fear. In WoW, this may be associated with a possible reward. Not only does the elevated bridge-like path forces the player to take it, but on the map above the avatar, the exclamation mark is placed in about the same direction as the path, which leads the player to believe that they really have to take the path up in order to possibly find more information about their quest. Thus, through such visualization designs as lighting and gradient, the path is already pre-set up for the player without even them realizing it.
Laws of continuity and similarity (Gestalt) sway the individual to unconsciously follow a certain path or direction, as the user assumes that elements which appear to look similar are a part of the same structure.eg - the trees and bushes that are placed in clusters direct the player towards a predetermined path.
This screenshot shows the effective technique of framing through the trees, as they seem to be placed around the path in a manner that allows the player to see the shape of the path. This framing also emphasizes the fact that there is a path, even if it seems to be turning around the corner and disappearing from visibility. The map above the avatar also helps the player see that the path does go on. This kind of framing seems to be more natural within the persistent online world, because it seems that the path is placed in respect to the trees, whereas in real life, paths are created by humans regardless of natural life. Thus, although the trees create a sense of the real world, they are there to frame the players view by making sure that they continue to follow the path and don't side track. The player cooperates because they understand that straying away from the path leads to a possibility of sidetracking from the quest by getting lost and tacking extra time to find the path once again.